PCM NATIVE CHAMBER OWNER’S MANUAL The Lexicon® Legacy continues...

2 ...with the PCM Native Chamber

For over 40 years Lexicon® has been recognized as the gold standard of digital reverb and effects processing and has continuously introduced leading edge technology for the audio industry. Lexicon again rocked the audio industry with the introduction of the PCM Native Reverb and PCM Native Effects Plug-In Bundles, the ultimate bundles for creating professional, inspirational mixes within popular DAWs like Pro Tools®, Logic®, and any other VST®, Audio UnitTM, or RTAS ® compatible platform.

With all the flexibility you would expect from native plug-ins, these powerhouse plug-ins offer legendary Lexicon processing with the most versatile and finely crafted studio presets. Designed to bring the highest level of sonic quality and functionality to all your audio applications, the PCM Native Series Plug-Ins will take center stage in your DAW.

Congratulations and thank you for purchasing the PCM Native Chamber plug-in. With decades of legacy products to pull from, the PCM Native plug-ins include the finest collection of factory presets available. Designed to bring the highest level of sonic quality and functionality to all of your audio applications, the PCM Native plug-ins will take center stage in your DAW. Quick Start • Open your DAW and choose the Lexicon plug-in from your list of plug-ins • In the plug-in’s window, select a category • Select a preset • Adjust parameters (optional) • Save the preset (optional)

It can be as simple or as in-depth as you’d like. The included presets work well for most situations, but you can easily adjust any parameter and save any preset. See the “Factory Presets” section for more information on editing, loading and saving presets. Included Items • PCM Native Chamber software CD • iLok license code • This manual Table of Contents Installation...... 1 The Control Buttons...... 9 Install the Plug-in...... 1 Edit...... 9 iLok License...... 1 Compare ...... 9 Store...... 9 First Look—The User Interface...... 2 Edit Navigation and Full Edit Mode...... 10 Overview...... 2 The Soft Row...... 11 Level Meters...... 3 Customizing the Soft Row...... 11 Preset Category...... 3 Input & Mix...... 12 Realtime Display...... 3 Reverb...... 13 Preset Selector...... 3 Reflections and Echoes...... 14 EQ Window...... 3 Master Time Control...... 14 Help Button...... 3 Absolute/Tempo Switch...... 14 Fader Area...... 3 Gain Polarity Switch...... 14 Control Buttons...... 3 The Realtime Display...... 4 Presets...... 15 Off...... 5 Loading a Preset...... 15 Multiband...... 5 Storing and Managing Presets...... 16 Frequency...... 5 Portable Presets...... 17 Impulse...... 5 Where are presets stored?...... 18 The EQ Window...... 6 Tempo Mode Presets...... 19 Graphic Display...... 7 Early/Late Selectors...... 7 Getting the most out of your computer... 19 EQ Type Selector...... 7 Level Control...... 7 Reverb Tail Behavior...... 19 EQ Parameters...... 7 The Algorithm...... 22 The Fader Area...... 8 Chamber...... 23 Parameter Name...... 8 Parameter Value...... 8 The Parameters...... 24 Modifier Button...... 8 Mix and Input...... 24 Fader...... 8 Mix...... 24 Predelay...... 24 Lexicon Plug-Ins & Upgrades...... 33 Diffusion...... 25 Available Lexicon Plug-Ins...... 33 Shape and Spread...... 25 Upgrading ...... 33 Reverb Control...... 26 Size...... 26 Reverb Time...... 26 BassRT...... 26 Bass XOV (Bass Crossover)...... 26 RT Hi Cut...... 27 RTHC Damping...... 27 Infinite...... 27 Spin and Wander...... 27 Tap Slope...... 28 Tail Width...... 29 Reflections...... 30 Rfl Delay ...... 30 Rfl Gain...... 30 Echoes...... 31 Eko Time Master...... 31 Eko Fbck Master...... 31 Eko Delay ...... 31 Eko FBack...... 31 Eko Gain...... 31 Early & Late (Reverb) Shaping...... 32 Level...... 32 Frequency...... 32 Bandwidth...... 32 Shelf...... 32 Type...... 32

Installation

Install the Plug-in Insert the CD into your CD-ROM drive. The Installer should start automatically.

If the Installer doesn’t start automatically, you can start it manually by opening the appropriate file on the CD:

Mac®: Use the “.dmg” installation file Windows®: Use the “32-bit.exe” or “64-bit.exe” installation file

Once the Installer is open, follow the on-screen instructions to install the software. iLok License You must download the license to your 2nd Generation iLok USB smart key before running any program that might use this plug-in. If a valid iLok license is not present, the initial plug-in validation scan will fail and you may not be able to run the plug-in without digging into your system. For more information go to www.iLok.com.

Important! Your PCM Native Plug-in will not work without an authorized 2nd Generation iLok USB smart key inserted in your computer’s USB ! port! !

1 First Look—The User Interface

Overview When the plug-in is instantiated, you will see a window that looks something like this:

Preset Category Realtime Display Preset EQ Window Selector

Level Meters Help Button

Fader Area

Control Buttons

2 Level Meters Shows the input and output levels. Preset Category Presets for the algorithm are grouped into categories to make them easier to find. Clicking in this area will show the list of categories. Selecting a category will load the presets for that category in the Preset Selector. Realtime Display Three unique visualizations help you to see inside the reverb. This is explained in greater depth in the “Realtime Display” section of this manual. Preset Selector Displays the list of presets within the selected category. Selecting a preset from the list will cause the preset to be loaded into the plug-in. EQ Window Allows you to see the type of EQ filters that are applied to the early and late reverb signals. This is explained in greater depth in the “EQ Window” section of this manual. Help Button Click on the Help button to enable tooltip help. Then hover your mouse cursor over the button or parameter you want to know about. An explanation will appear onscreen. Fader Area Parameter values are shown and controlled in this area. This is explained in more depth in the “Fader Area” section of this manual. Control Buttons These let you access all of a preset’s parameters, manage presets, and compare changes you’ve made to the original settings. This is explained in more detail in the “Control Buttons” section of this manual.

3 The Realtime Display The realtime display window allows you to visualize the reverberation in three ways. While your ears will always be the primary tool in choosing and adjusting presets, the displays provide a direct way to see what’s going on. Click anywhere in the realtime display window to change the view.

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Off This mode shows only the algorithm name. It is the default view for the plug-in and requires the least amount of CPU cycles.

Multiband This display shows the reverb in five frequency bands, with the lowest frequency in the rear. The image moves from right to left as it ages.

Frequency This display shows the reverb as a more traditional RTA image, with lower frequencies on the left.

Impulse This display shows the signal as a single impulse response, The image moves to the left as it ages.

5 The EQ Window This window provides control of the output equalization:

Graphic Display Early/Late Selectors

EQ Type Selector

Level Control EQ Parameters

6 Graphic Display Shows the EQ in a graphic form. The active section (Early or Late) is in the forefront. Early/Late Selectors These buttons select which EQ section is currently being edited. ‘Early’ includes reflections, direct echo outputs and room patterns. ‘Late’ includes the reverb tail. EQ Type Selector Allows any of six types of EQ to be applied to the active section. Those types are:

• Single-pole lowpass (6db / Octave) • Single-pole highpass (6db / Octave) • Double-pole lowpass (12db / Octave) • Double-pole highpass (12db / Octave) • Bandpass • Notch Level Control Overall output level of the active section. These may be edited by holding the mouse down and moving up and down over the knob. Alternatively, the value field may be directly edited. EQ Parameters Frequency, shelf and bandwidth parameters of the active section. To edit these, click and hold on the knob, then move the mouse up or down. Alternatively, the value field may be directly edited. The bandwidth knob is only available when the filter type is Bandpass or Notch.

7 The Fader Area The fader area may be populated by up to nine faders. This illustration shows what may be found for each fader.

Parameter Name

Parameter Value

Modifier Button

Fader

Parameter Name Shows the parameter being adjusted. Parameter Value Shows the current value of the parameter. This field may be directly edited. Modifier Button This button only appears for certain types of parameters. It controls aspects of the parameter. In this illustration, it serves as a button to send the reverb into infinite reverberation. Fader Changes the value of the parameter. May be dragged, control-dragged (for higher resolution) or may be controlled by the mouse wheel.

8 The Control Buttons These buttons let you access all of a preset’s parameters, manage presets, and compare changes you’ve made to the original settings.

Edit The Edit button makes the Navigation buttons visible. These buttons allow all of the algorithm’s parameters to be edited. See page 10 for more detailed information. Compare The Compare button temporarily restores the plug-in to the selected preset. It gives you a chance to see what was changed. While in compare mode, the plug-in is not editable. Click Compare again to restore your edits. Store The Store button allows you to create and manage your own presets. See page 16 for more information.

9 Edit Navigation and Full Edit Mode When the Edit button is clicked, an additional row of buttons appear along the lower right portion of the plug-in. Clicking one of the buttons will bring up an edit page holding parameters related to the button name. Those parameters may be edited until the desired sound is achieved.

Click Edit

10 The Soft Row When the plug-in is first instantiated, a number of parameters appear. This page of parameters is called the “Soft Row”. These parameters were chosen as being the most useful parameters for a particular preset. In most cases, we’ve tried to make a consistent set of choices, but many presets call for different parameters. For most people, the soft row is all that’s needed. Customizing the Soft Row The soft row assignments are part of the preset. You can change the soft row assignments and store the preset as a User Preset. To do this, press the Edit button to go into edit mode then press the button for Soft Row. The plug-in will look something like this:

3. Modifier button area. Click to assign soft row parameter.

1. Click Edit 2. Click Soft Row

In the modifier button area, just above the fader, you will see the name of the parameter that is assigned to that position in the soft row. Clicking on any of these parameter buttons reveals a list of all the algorithm’s parameters. Select a parameter (or “no selection”) from the list, and that parameter is then assigned to the soft row. The assigned parameter is still available on its original edit page, but now it appears in the soft row as well.

You can assign any parameter, whether it’s on an edit page or in the EQ window. You can even assign the same parameter more than once. When you’re done, store it as a User Preset and you’ll always be able to recall the preset with your customized soft row.

11 Input & Mix Clicking the Input & Mix button reveals a straightforward group of parameters, all of which are described in the “Parameters” section starting on page 24. The Predelay parameter includes an Absolute/Tempo button. In Absolute Mode, a delay is shown in milliseconds. In Tempo Mode, a rhythmic value is shown and the delay time responds to changes in the tempo using this plug- in. If tempo slows down, delays get longer.

Absolute/ Tempo Button

1. Click Edit 2. Click Input & Mix

12 Reverb The Reverb button opens a selection of parameters. Each parameter is described in the “Parameters” section starting on page 24. This edit page also includes an Infinite button (which lets the reverb echoes continue endlessly) and a Damping button (which controls the high frequency damping of the signal during the reverb tail). It may be considered analogous to air absorption.

Infinite Damping Button Button

1. Click Edit 2. Click Reverb

13 Reflections and Echoes There are two types of delay voices in the Lexicon® Chamber plug-in:

Reflections are simple delay voices leading from one of the input channels to one of the output channels. Their delay time may be modified, as well as the output level and polarity. Echoes are similar to reflections but they have an additional control that allows them to feed a delayed signal back into the input.

Both types of voices pass through the input diffusors.

Absolute/Tempo Switch Master Time Control Gain Polarity Switch

1. Click Edit 2. Click Reflections or Echoes

Master Time Control Scales all reflection voices by a percentage value. Once individual voices are set, this is a handy method for quickly changing the effect of the reverb. Absolute/Tempo Switch Nearly all delays (including predelays) have this switch. In Absolute Mode, a delay is shown in milliseconds. In Tempo Mode, a rhythmic value is shown and the delay time responds to changes in the tempo using this plug-in. If tempo slows down, delays get longer. Gain Polarity Switch Changes the gain’s polarity from normal to inverted.

14 Presets The PCM Native plug-ins come with a large complement of Factory Presets. These presets are grouped in categories that make it easier for you to find the sound you need. Most presets also come with several variants that may save you a lot of editing time. For example, most of the reverb presets have dark, light, bandpass and notch variants. These variants share the same basic characteristics, but are EQ’ed differently. Loading a Preset The preset category is chosen from the drop-down menu in the upper-left portion of the edit window. When you select a category, the preset menu is updated to show availability of the new presets within the selected category. An initial preset will be loaded from the category. It will be the first preset in the list unless you have previously visited the category. In that case, it will be the last preset you loaded from that category.

Click here Click here to select to select a category a category

15 Storing and Managing Presets When you load a Lexicon® plug-in, the overall appearance may be something like this:

You will notice that the Lexicon plug-in (with the gold border) is embedded within a larger window provided by the DAW. Appearance will differ from host to host (this example is from Logic®). Oftentimes, the DAW itself provides the ability to save presets. The presets saved by the DAW can only be used with the DAW that saved them. If you work with multiple DAWs, this would be a problem. However, Lexicon® solves this problem with the use of Portable Presets.

16 Portable Presets When you store presets with the Lexicon Store button (shown below), your presets are available to all DAWs on your machine. With only a little effort, you can also share them with other machines, even when going between Mac and PC.

If you’ve made some edits you’d like to save as a User Preset, press the Store button on the upper portion of the plug-in editor. You’ll see a screen that looks like this:

2. Click to 3. Click Store 1. Click Store edit name to save

The upper field contains the list of User Presets that have already been created for this algorithm. Presets appear in alphabetical order. Click the name field to edit the name of the preset. Once done, click the Store button.

The lower field contains the name of the preset that was loaded before you began editing. You can easily click in this field and change the name to anything you like. Once you have the appropriate name, click the Store button and the preset will be saved. If you decide not to save the preset, pressing the Cancel button will return you to the editor without saving the preset.

17 If you select one of the existing presets in the library, you can replace or delete that preset.

1. Click on a preset

2. Preset name appears here

3. Click to replace, or Click to delete Where are presets stored?

On the Mac, User Presets are stored in: ”Home”/Library/Application Support/Lexicon/Native/User Presets/”AlgorithmName” (“Home” is the name of the account you’re logged in under. “AlgorithmName” is the name of the plug-in.)

On Windows Vista/Seven, User Presets are stored in: Users/”Username”/AppData/Roaming/Lexicon PCM Native/ UserPresets/”AlgorithmName” (“Username” is the name of the account you’re logged in under. “AlgorithmName” is the name of the plug-in.)

On Windows XP, User Presets are stored in: Documents and Settings/”Username”/Application Data/Lexicon PCM Native/User Presets/”AlgorithmName” (“Username” is the name of the account you’re logged in under. “AlgorithmName” is the name of the plug-in.)

Note: The AppData and Application Data folders are Windows system folders and are hidden by default. Windows must be configured to “show hidden files and folders” to view these folders.

18 Tempo Mode Presets Some presets will contain ‘(T)’ in the preset name. These are tempo mode presets. These presets have some characteristic (predelay time, delay time, etc) that responds to the tempo of the DAW. They are best used when the tempo of the project actually reflects the tempo of the musical material (MIDI sequences and such). In those cases, the tempo component of the preset will reinforce the tempo in some way.

Getting the most out of your computer The PCM Native plug-ins are written to be efficient, and most computers will run more copies than you may need. But if you find yourself needing to squeeze a little bit more out of your CPU, you can take the following simple steps:

• Turn off the active realtime display. The active display window can represent your effect in real time in several ways. However, this display consumes some of your computer’s processing power. If you click until you reach the static display, your computer will have more CPU power available.

• Close the plug-in editor. Unless you’re actively controlling your mix in realtime, you don’t need the editor after you’ve made the appropriate settings. All those knobs, faders and displays require processing power. You can always reopen the editor if you need to edit.

Reverb Tail Behavior Each host treats plug-ins a little bit differently. You’ll notice this especially when you stop, loop or relocate. You may notice that the tail stops immediately on one platform and continues to ring on another. You may also notice that the behavior changes when the plug-in is inserted on an audio track, an instrument track or an aux track.

19 The

Heritage Lexicon® occupies a unique position as a leading innovator in both professional and consumer audio industries. Since the release of the first digital delay, Lexicon has stood at the forefront of digital audio with a reputation as a manufacturer of exceptional audio and home theater products and an inventor of new technologies. Years of research, development, and learning allow us to continue expanding the boundaries of the listening experience.

Our professional products are prominent in the creation of worldwide music, television, and film productions. These products have won numerous awards, including an Emmy® and numerous TEC awards, including a TEC Hall of Fame award for the Lexicon Delta T-101, the world’s first digital delay. Lexicon processors have been embraced as the standard in professional signal processing since the introduction of the 480L Digital Effects Processor, which has retained tremendous popularity for the past 22 years. It has since been replaced as the standard in professional signal processing by the 960L Multi-Channel Digital Effects System and the PCM96 Series Reverb/Effects Processors, which have themselves garnered an impressive following of producers, artists, and engineers.

Growing demand for proprietary Lexicon technologies has led to its appearance in numerous applications, with dramatic results. Our processing is relied upon to enhance the sound of prestigious live halls and venues.

Knowingly or unknowingly, you experience Lexicon products and technologies on a daily basis. Chances are that Lexicon processing was involved in the television program you watch at home, the film you see at the cinema, or the song you listen to on the radio. From the initial tracks to your listening room or automobile, Lexicon is part of the process that brings these recordings to life. Our commitment to the audio professional and content delivery ensures an unbroken chain between the artist and the audience. Now hear this… The Algorithm

22 Chamber The echo chamber was the original high-end reverberator. It was a small-to medium-sized space with highly reflective and irregularly-shaped walls. Inside this space would be a microphone or two and a speaker or two. The input signal was sent to the speakers and picked up by the microphones. With careful design and setup, a highly satisfying reverb could be generated. There are still a number of first-rate echo chambers in operation around the world.

The principal characteristics of the chamber algorithm include a rapid high density and avoidance of noticeable wall slaps. This complex miniature-space effect resembles an echo chamber at its smaller settings and, at its larger ones, a small performance space with a more rapid build-up of reflection density than a hall. Reverberant tails are randomized. Randomization is a microscopic process which Lexicon uses to smooth the frequency response of an algorithm and to make it more natural sounding.

23 The Parameters The PCM Native plug-ins contain presets covering a wide range of needs, but you can refine and customize any preset by adjusting its parameters. Parameters are the building blocks within each preset that determine how it sounds and behaves.

Each PCM Native plug-in contains a set of parameters, and a variety of those parameters are combined to create a preset.

Below are all the algorithm parameters you can edit in the PCM Native Chamber Plug-in. Note that sometimes parameter names are abbreviated when they appear onscreen, and they may have prefixes indicating what channel they control (for example, the left channel reflection gain may appear as “L Rfl Gain”). Mix and Input Mix Mix is the proportion of wet (processed) signal to dry (unprocessed) signal. This must be used with care. If the plug-in is used as an insert on a single track, then it is probably appropriate to use the mix control directly in the plug-in. However, reverbs are often used on Aux tracks and may be sourced over internal busses in the DAW. In this case, it may be better to control the level on the Aux track rather than wet/dry mix. Not all DAWs feature delay compensation, so it’s important not to have a dry signal in more than one path (cancellation being a possible outcome).

The mix parameter is “sticky”. Like other parameters, it is saved and restored by the DAW. But after the plug-in is loaded, the mix value will stay where you put it, even if you load another preset in the same plug-in. This makes it easier to preview presets and choose the one you want, since the mix won’t spring back to 100% every time you load another preset. Predelay This is used to add a small amount of delay to a signal before it enters the reverberator. This creates a little separation between the wet and dry signals, in turn creating greater clarity in the mix. This delay can also be toggled into Tempo Mode, causing the delay to follow the DAW’s session tempo.

24 Diffusion Input diffusion is the first part of processing for any signal entering a reverb or delay. It can be described as a smearing or softening of the signal and is typically used to lessen the impact of strong transients. Shape and Spread The Shape parameter is closely tied to the Spread parameter. Shape controls how energy is injected into the reverberator. A low value means that sound enters the reverb at the beginning of the spread window. A high value means that most sound moves into the reverb at the end of the spread window. A value somewhere in the middle means that sound enters the reverb evenly across the spread window.

Tip: Shape will not have this effect if spread is at its Early Reverb minimum value. But even then, Reverb Tail it can make a difference. In this case, it affects reverb timbre and density. Higher values of shape may be both darker and Shape = 32, Spread = 20% denser, although the effect is subtle.

Spread is a window of time

during which a signal is injected into the reverb. Shape controls just how the signal is Shape = Anything, Spread = 0% injected during this window.

Together, the two parameters create an envelope for the

early portion of the reverb, as shown in this illustration.

Shape = 64, Spread = 75%

25 Reverb Control Size Size corresponds roughly to the length of the longest wall of a rectangular room. In a more general sense, it corresponds to the overall dimension of some mythical space. This space has a geometry that causes sound to bounce around. When the room size is small, the “walls” of this space are closer together and the resultant reflection density increases. When the room size is large, that density decreases. The most natural reverbs use room sizes that vary from about 24 meters to 45 meters or so, but there are many useful reverbs that are outside of this range. There is a relationship between this parameter and the Reverb Time parameter. Please see the Reverb Time parameter for clarification. Reverb Time Reverb Time is the mid frequency reverb time (in the frequency above Bass XOV and below RT Hicut). As such, it is one of the primary controls affecting the length of the reverb tail. It may be considered to model the reflectivity of the walls in the reverberant space. The parameter most closely associated with Reverb Time is Size. A large room size with a small Reverb Time can easily have the same decay time as a small room with a large Reverb Time. Even though the two solutions may result in the same reverb time, they will sound quite different from one another. The value that is actually displayed is an approximate reverb time based on both of those values. The actual time is also highly-dependent on other parameters as well as the audio material. BassRT This parameter controls bass reverb time. It is closely associated with the Bass Crossover and Reverb Time parameters. BassRT is a multiple of Reverb Time that applies to signal below the frequency described by Bass Crossover. If BassRT is less than 1.0, then the low frequency part of the reverb tail will be shorter than the midrange part. If BassRT is greater than 1.0, then the low frequency part of the tail is longer. Bass XOV (Bass Crossover) The Bass XOV parameter is closely tied to the BassRT parameter. It represents the frequency below which BassRT has an effect. One is tied to BassRT, the other is found in the Pattern settings menu and affects the BassBoost.

26 RT Hi Cut This parameter, also known as Hicut or RTHC is a low-pass filter in the recirculating part of the reverb. It represents a frequency above which the tail dies away more quickly. In some ways, it represents the opposite end of the scale from BassRT, and may be considered an analog of air absorption. It is also closely tied to the RTHC Damping parameter. RTHC Damping The damping parameter is closely tied to the RTHC parameter. It controls the strength of the hi frequency absorption and has three values: Light, Normal, and Heavy. The Normal value gives filter response identical to previous Lexicon® reverbs. The other values should be self- descriptive. Infinite This parameter captures the reverb tail as an infinite loop. This may be useful in music, where a note or chord can be extended. It is also useful in post-production for creating ambience backgrounds. Spin and Wander These two parameters control randomization effects within the reverb. Randomization is used to control the spectral purity of the reverb. It can also, at some settings, create a more noticeable modulation effect. Artificial reverbs sometimes create audible artifacts with some types of signals. For example, a voiceover in a very small room might sound a little metallic. Randomization works to minimize these effects and remove the sense of ringiness.

Spin controls the rate of randomization. In most cases, values between 1–2 Hz are appropriate. Typically, these values should be smaller for plates and chambers or for very small rooms. But it’s always best to listen with the material you’re using.

Wander controls the amount by which various delay values may be modulated, or the maximum size of randomizer steps, and is expressed in a time value (typically milliseconds).

27 Tap Slope This is an unusual parameter which affects the relative gain of impulses coming from the reverb. While this parameter does not (as it might appear) make the reverb sound ‘bumpy’, it may affect timbre or the overall sense of spaciousness.

Impulses Overall Decay trend

Tap Slope = 0

Positive Tap Slope

Negative Tap Slope

Tap Slope can also be used to create inverse and gated effects. In this case, Reverb Time should be at 0. Spread should be fairly high. Shape should be fairly high. Size should be fairly high. Tap Slope should be in the range of (5 to 10). Play with spread, shape and size to vary the effect.

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24 Tail Width The reverb tail (all components of the reverb except for early reflections, etc.) is passed through a simple 2x2 matrix. This provides an encoding of the tail that dramatically changes its spatial characteristics. The tail can be changed to feel narrower (even down to mono) or wider than normal stereo. There are values for the parameter to encode the tail in such a way that it decodes into surround channels.

The parameter operates in the range of 0 to 360 degrees, with an incremental change of 1 degree. The matrix uses Sine/Cosine rules so that power distribution remains constant. This may be acceptable, even highly desirable, but the mix engineer must fully understand the process and its implications. It is possible to compromise the mono compatibility of a mix by using this parameter carelessly.

This is a powerful tool for audio whose release format is two-channel. It is not useful in any other format. Formats include compact disc and radio/television broadcast. Some of these effects are clear and noticeable without any sort of decoder. Many are even more dramatic when a decoder is in place, such as in a home theater. It is strongly recommended that you monitor in all possible formats (stereo, mono, matrix surround) when using this parameter.

29 Reflections Reflections are copies of the input which pass through the diffusors and then are passed directly to the output. Short reflections may be used to enhance the early part of the signal, enhancing the sense of a stagehouse or of slapbacks. Long reflections become more of an effect, with the discreet audio acting as if a separate delay unit has been inserted into the signal.

Rfl Time Master This parameter is used to scale all reflection times at once. Rfl Delay Controls the delay time of a reflection. This can be toggled to Tempo Mode, in which case its delay time will be related to tempo. Note that this parameter can have different routing configurations, indicated in its name. For example, if its name appears as “L Rfl Delay” or “L-L Rfl Delay,” the signal comes in from the left and goes out the left. If the name appears as “L-R Rfl Delay,” the signal comes in from the left and goes out the right. Rfl Gain Controls the gain of a reflection. The polarity of the gain coefficient can be optionally inverted. Note that this parameter can have different routing configurations, indicated in its name. For example, if its name appears as “L Rfl Gain” or “L-L Rfl Gain,” the signal comes in from the left and goes out the left. If the name appears as “L-R Rfl Gain,” the signal comes in from the left and goes out the right.

30 Echoes Echoes are similar to reflections in the way that they pass through input diffusors and then on to the output. But they have an additional feedback path that passes the audio back into the reverb input. With short echoes, the effect may add some color to the reverb. Longer echoes may serve to prolong the settings set by shape and spread. Even longer echoes can cause unusual reverb effects. The feedback settings must be treated with care, since high settings may send the reverb into oscillation.

Eko Time Master Controls all echo voices in the algorithm. Each echo delay has its nominal time adjusted by this percentage. Eko Fbck Master Controls all echo voices in the algorithm. Each echo feedback has its nominal gain adjusted by this percentage. Eko Delay Controls the delay time of an echo that comes from the indicated input (L or R) and goes to the same output. It may also recirculate back into the same input. This can be toggled to Tempo Mode, in which case its delay time will be related to tempo. Eko FBack Controls the feedback of an echo that comes from the indicated input (L or R) and goes back into the same input. The polarity of the echo feedback coefficient can be optionally inverted. Eko Gain Controls the gain of an echo that comes from the indicated input (L or R) and goes to the same output. The polarity of the echo gain coefficient can be optionally inverted.

31 Early & Late (Reverb) Shaping Level This parameter acts as a master level control for signals going to the output channels. Both early signals and late (reverb tail) signals can be controlled individually. Early signals include echoes and reflections.

Early level may be adjusted for any of a few reasons. Increasing the early level (depending on settings for reflections and echoes) might increase the sense that the microphone is closer to the source audio. By the same token, decreasing the reverb level may accomplish the same thing. Lowering the early level might be called for if the source audio has been recorded in a natural space with strong reflection characteristics. If the user is sweetening a track by adding just a little bit of reverb to a pre-existing natural reverb, then lowering the early level might be recommended. Frequency This parameter lets you set the cutoff frequency of the multimode filter. The audible effect of this is determined by the Type parameter. Both early signals and late (reverb tail) signals can be controlled individually. Bandwidth This parameter lets you set the bandwidth of a multimode filter. Bandwidth is specified in octaves or fractions thereof. This parameter is available only when it has an effect (bandpass and notch modes). In all other cases, it is hidden. Both early signals and late (reverb tail) signals can be controlled individually. Shelf This parameter effects all filter types. The shelf specifies the audio level below which the filter has no effect. For example, let’s imagine we’re using a one-pole lowpass with shelf set at -12 dB. The lowpass filter affects only the strongest 12 dB of the signal. Below the shelf, the signal is unfiltered. This is easy to understand by viewing the EQ window. Type This parameter selects what type of filter is used for shaping the tone of the effect. The selectable options include: 1 Pole Lopass, 1 Pole Hipass, 2 Pole Lopass, 2 Pole Hipass, bandpass, and Notch. Both early signals and late (reverb tail) signals can be controlled individually.

32 Lexicon Plug-Ins & Upgrades Available Lexicon Plug-Ins Please visit www.lexiconpro.com for the latest information on available Lexicon plug-ins. Upgrading Please visit www.lexiconpro.com for the latest information on upgrading to the PCM Native Reverb Bundle or PCM Total Bundle.

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www.lexiconpro.com

Harman 8760 South Sandy Parkway, Sandy, Utah 84070, U.S.A. Phone: 801.568.7660 | Fax: 801.568.7662 Questions or comments? Visit us at www.lexiconpro.com

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PCM Chamber Manual v0.1